Well....as you might have guessed, i have owned the Eventide Modfactor pedal in the past. In fact i own the entire Eventide Factor pedal collection...yes, they are that good.. :) I was drawn away from the Modfactor though for a couple years chasing new shiny objects with 32bit processing, endless parameter programming options, and other bells and whistles i really didn't need because somehow they had to be better collectively..right? Wrong...when i listened to recordings of my music with the Modfactor pedal compared to the newer Mod pedals, there just seemed to be something missing...especially in high gain modes. The Eventide pedals are the kings of crystal clear headroom with high gain input signals. No loss of articulation or stereo field..very sweet. So i bought another Modfactor and couldn't be happier...the Chorus, Flange, Undulator, and Tremolo are all outstanding and sound amazing both clean and with high gain...what more could you want? I am not going to bash the other pedals i have been using...they are very interesting to play with, but for serious musical recording and performing..you just can't beat Eventide.

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The delays on board were some of the best I ever heard in a digital stompbox and came directly from the brains of Eventide's best loved studio rack units that have graced many a hit record.

The Modfactor builds on this same heritage but this time focuses on modulation and sound mangling, rather than delay-based effects. With this in mind, we were very excited to put the Modfactor through it's paces.

The Modfactor's overall look and feel is very similar to the Timefactor and is built into the same high-quality metal box, with a very similar control layout.

There are 11 rotary controls on the front panel that have different functions depending on the type of effect selected.

Along the top (from left-to-right) there is an intensity dial, a type dial (which controls the types of effect available within the effect selected), a depth, a speed and a shape control and finally an 'Xnob' that changes function depending on which effect is selected.

On the bottom row of rotaries is a D-mod and an S-mod control. These control the amount of modulation applied to the depth and speed parameters.

Finally, there is a mod rate and a mod source control and it's worth noting the 'Catchup' parameter, that ensures smooth transitions between sounds with wildly different parameter values.

The three footswitch controls provide easy access to the heart of the pedal. The 'active' footswitch activates or bypasses (true bypass is available) the selected effect, while the slow/fast switch toggles between the lowest/ highest LFO speeds within each effect and in the rotary simulation functions as the Leslies slow/fast/brake.

In addition, the tap tempo footswitch sets the BPM of the selected effect. This tempo can also be synced to MIDI so that the effects modulate in time with any other MIDI equipment.

There are two main operating modes within the Modfactor that are footswitch controlled. First off 'play mode' where the footswitches directly control effect parameters (for example LFO/rotary speed) and a 'bank mode' that enables quick stepping through sounds within the 20 user banks.

Each bank can hold two separate preset effects and the active and slow/fast switches allow direct access to these presets in this mode. It's very slick in operation and worked flawlessly when I took the Modfactor out on a gig.

It's worth mentioning at this point how great the display is. It can be read easily from a distance and you always know where you are, even in the most hectic of stage/studio situations.

Also, when you turn a dial, its parameter value flashes up in the display - there is always a useful graphical, alphabetical or numerical representation of the parameters and modulation amount.

Now onto the most important part of the unit - the effects! The high quality of the Timefactor's effects left me with high expectations for the Modfactor but rest assured, it most certainly delivers and doesn't disappoint.

Overall quality is incredible at this price point and the effects sound much more expensive and professional than they should, with an analogue-like sound. It's hard to believe that these effects are digital, but then Eventide seem to have the know-how!

The choruses, phasers and flangers can shimmer subtly, or wobble your speakers to no end but are always delightfully musical and controllable.

Autowah

The Q-wah can operate as a dynamically controlled autowah or a normal wah-wah pedal (you can connect an expression pedal at the rear for foot-controlled wah-wah (see more about connectivity in the box above).

It sounds juicy, squelchy and authentic. The mod�lter effect contains several �lters that can be used to warp and mangle sounds through the stereo spectrum and it's great for choppy, glitchy and stuttery sounds and comes into its own when synced to external MIDI.

This is one of my favourite effects in the Modfactor along with the Undulator, which combines delays, detuning and FM tremolo modulation.

The Undulator is particularly great for twisted modulated chorus like effects and really needs to be heard to appreciate the sonic magic it can offer.

Finally, the Ringmod effect can process your sounds into complete oblivion and is great for clangly, bell-like metallic madness!

Those after accurate authentic rotary cabinet simulations will and the Modfactor a pleasure to use sonically and functionally - it does a great job of emulating the real thing. As with all the other effects, you can really tweak the parameters to perfection, to obtain the desired sound/result.

The tremolo also works well in mono and in stereo and can be used as an autopanner with different waveshapes. I found it could emulate the stereo panning of my Rhodes Suitcase 73 with ease and finesse.

To conclude, there is little to find fault with in the Modfactor, except perhaps for the fact that it can't be battery powered. It's every bit as great as their previous attempt, the Timefactor pedal, both in terms of build quality and sonics and I can't see anyone regretting purchasing one.

It's versatile for both the studio and the stage and offers a level of control not often seen in stompboxes at this price. The only problem is, once you've tried one, you'll want the buy the whole range! I Did !!!!

Software upgrades via USB.

*********Make sure you install the beta version OS letting you use the H9 Controller! which a lot of users don't know exist. After you register your Space, Timefactor, Modfactor or H9 stompbox and you update each box to the 5 Beta which lets you use the H9 Controller, in which, will let you use the many patches and algorithms in your boxes in a neat editor on you laptop, iPad, and such. It's amazing the sounds and settings you all achieve using this utility.

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This allowed me to get rid of half of my 2 piece pedalboard. Replaced and added every possible mod effect I will ever need - including a killer wah (my CryBaby is shelved). There is a learning curve, but if you take your time in reading the manual (and maybe check out the YouTube tutorials), you'll get past all that. Add a Mission Engineering expression pedal and there's nothing left wanting. There's even an ADSR control for modulated volume swell effects. The sound is incredible - even run in the front side of a tube driven amp. Some complained that it added too much brightness - but it really just brings back your tone that was masked by other pedals. Through the Modfactor or straight into my amp is almost identical... and that's with the other pedals in the chain. The recent software updates added 50 more presets, and made it bass friendly as well (including a bass wah). I've been working with this for over 2 months, and am very comfortable with managing and creating my presets. The band loves it as much as I do. Keeper. Nice.

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If you want pro sounds this is it. Like most pedals the presets are so-so but if you take the time this thing is a beast!! I have 2 of the factor pedals now and will definitely be buying all of them in the future.

I would have kept this pedal had it been able to handle bass frequencies a bit better. I fiddled with it for many hours hoping I just had the settings wrong... but in the end I just didn't think the sounds justified a 399$ price tag. Part of the reason I sent it back was because some of the sounds were just unusable in the style of music I play (funk, psych-rock) where the bass needs to hold it down on one. For example, the undulator is an awesome sounds but not practical for me. The rotary and vibrato are in the same boat. The Q-Wah in no better than a Q-tron I already have. But seeing that less than half of the settings handled bass/were practical, I did not feel right spending all that money. But, maybe you will have better luck than me and know how to work the knobs better. I feel like it would be a lot better for guitars rather than bass, perhaps even synth, but for bass... it didn't make me go WOW like the Eventide Space did.

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On the good side, you will be able to get some incredible sounds with this.

On the bad side, the manual does not even scratch the surface in explaining how to get those sounds or what the different shaping choices you have (which are myriad) will do to affect your effect, and the second row of knobs will frighten and confuse you like a fur-covered shark with gun turrets. Not to mention the act of programming your own sounds with an expression pedal is another true challenge in itself, as you will only have a few seconds to program your intended changes and save them before the "programming active" light stops blinking and you lose the changes. It's terribly frustrating and will turn off anyone not willing to spend an absurd amount of time with it learning what does what to what.

However, if you are willing to spend the time learning this beast, you will get some of the coolest and most shapeable sounds you have ever heard in your life. They're all in there -- if you can coax them out. That's why this only gets 3 stars -- it would get 5 if it were not so utterly user-unfriendly. A better, more explanitory manual could cure some of this.

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